WagnerDie Walküre Siegmund: Wolfgang Windgassen Sieglinde: Gre Brouwenstijn Hunding: Josef GreindlWotan: Hans Hotter Brünnhilde: Martha MödlFricka: Georgine von MilinkovicHelmwige: Hilde ScheppanOrtlinde: Mina BolontineGerhilde: Herta WilfertWaltraute: Elisabeth SchärtelRossweise: Hetty PlümacherGrimgerde: Georgine von MilinkovicSiegrune: Erika Schubert Schwertleite: Trude RoeslerBayreuth Festival Orchestra Joseph Keilberth, conductor Barcelona, April 27, 1955

I'm so glad that the reviews of this recording persuaded me to purchase it. I couldn't have enjoyed it more. Modl is indeed in amazing form - she is definitely my preferred Brunnhilde, so warm and so human. The rest of the cast is also great, and the sound remarkably good for 1955.

What a privilege to hear such a fine performance when the Bayreuth Festival went on tour in the Spring of 1955. The cast here is very similar to what was heard at the actual festival that year. The principals are all in excellent voice. As Andy mentions above, Modl could be variable, but 1955 was a good year for her vocally and here she manages the "Ho-jo-to-ho!" very well, the Bs and Cs emerging on pitch if not effortlessly. She and Hotter make an inspiring team and the second act is as dramatic as I've ever heard it. Hotter was in relaxed, steady voice that evening, his farewell heart-breaking. Though Siegmund lay rather low for Windgassen he sings better here than he does elsewhere in this role and Brouwenstijn is a beautiful Sieglinde. Milinkovic is a majestic Fricka who brooks no nonsense and Greindl a terrifying Hunding. The Walkuren are not listed, but they sound like the same ones used in the summertime (Hilde Scheppan is definitely Helmwige). Keilberth leads an engrossing, well-paced performance.The sound is excellent for the period. Recommended to all Wagner lovers, especially admirers of these singers.

In 1955, the Bayreuth company played a *Gastspiel* at the Gran Teatro del Liceo in Barcelona. This decent-quality broadcast preserves that performance, cast from strength. Wolfgang Windgassen supposedly didn't care for the role of Siegmund but you'd never know if from this outing, nobility personified and keeping the performance moving (more on that below). He is splendidly partnered by Gré Brouwenstijn, who has all the requisites for a great Sieglinde: a beautiful, well-anchored voice, sensitivity to the text and responsiveness to her colleagues. Two quite variable artists are heard in their glory, by happy chance. 1955 was a prime year for Martha Moedl. She aced Brünnhilde in Bayreuth's Ring cycle and does so here again in Walküre. The trademark Moedl involvement in present and the voice is in full working order, with B-flats and high Cs nailed. Opening with a blazing F-sharp in Nun zaume dein Roß in Act II, Hans Hotter is having one of his steadiest outing and when you combine that with his matchless wisdom as an interpreter you have a truly godlike Wotan. Josef Greind's Hunding bristles with suspicion and Georgine von Milinkovic is no afterthought. Vocally and interpretively she's the total package, equal to many more-famous Frickas and superior to some.The stumbling block is Joseph Keilberth's conducting. Testament's release of the '55 Bayreuth Ring caused some to induct Keilberth into the pantheon of greats. But what this listener hears are plodding tempi, spotty playing, iffy pit/stage ensemble and a general air of indifference. If you can get beyond that, a superior vocal experience is your reward.

We are lucky to have a chance to hear this rare recording.

Martha Modl gives a wonderfully vulnerable and flesh and blood Brunnhilde. Her dark smokey voice is more mezzo than soprano and though the top does not open out well,it is a fascinating and effective instrument in the hands of such a marvellous singing actress. Her Wotan the magnificent Hans Hotter gives a performance of dignified vocal solidity.The Dutch soprano Gre Brouwenstijn with her bright clear and powerful voice is a moving Sieglinde. Sigmund is the first choice of German Tenors during the 50's, Wolfgang Windgassen. He gives a poetic and restrained performance, his bronze sound ( a German Martinelli?) very easy on the ear.The voices a a little too forward in the first act( preferable to the opposite) and there is some distortion in forte moments of the orchestra, small caveats in an otherwise excellent recorded sound.

Windgassen, Brouwenstijn, Hotter, Modl and Greindl are all great, esp. Windgassen!

the old good time !